Available online at http://www.journalijdr.com

ISSN: 2230-9926 International Journal of Development Research

Vol. 10, Issue, 01, pp. 33210-33214, January, 2020

RESEARCH ARTICLE ORIGINAL RESEARCH ARTICLE OPEN ACCESS

PRIMITIVE ART: PAINTED ROCK WALLS IN

*Dr. Umesh Chandra Nayak

Asst. Professor, (Department of Fine Arts, Amity University, Haryana, )

ARTICLE INFO ABSTRACT

Article History: Geo-morphologically western Odisha is an extension of the Chhotnagpur plateau and the Article History:

ReceivedReceived 17xxxxxx,th October 2019, 2019 Chhatisgarh basin. The western uplands comprising the districts of Keonjhar, Sundargarh, ReceivedReceived inin revisedrevised formform , and Kalahandi share in common the history and culture of Central India. 28xxxxxxxx,th November 201,9 2019 This region along with the eastern districts of Madhya Pradesh once formed a single political unit AcceptedAccepted 26xxxxxxxxxth December, 20, 192019 under the name Mahakantara and DaksinaKosala during the early historic and early medieval PublishedPublished onlineonline 29xxxxxth January, 2019, 2020 periods. It is full of detached peaks and small range of mountains gradually becoming more sparse and scattered towards the eastern part and is thickly forested with boundary outcrops of a Key Words: sand stone one which is of great significance for studying the rock art in Odisha. Paintings and engraving drawn by the man on the bare rocks surfaces in the naturally formed caves and rock This article is for re thinking of Primitiveness, preservation of Ancient Rock Art through shelters are the earliest written and visual documents and beliefs. In the absence of any authentic documentation. and written record they are of great help to us in determining the contemporary environment and the mode of man nature relationship. They provide us clues to their society religion, rituals, customs, implements and other material cultures. Realizing the significance of the antiquity of rock-art in the recent years the scholars have brought to lime light hundreds of such painted rock shelters all over the country. Central India alone because of its favorable geomorphology has

about more than two- thirds of the country’s rock art sites. However, in Odisha such a study has *Corresponding author: not yet gained importance among the scholars. Though only about half a dozen of such sites have Dr. Umesh Chandra Nayak been reported, so far no systematic documentation has been done on any single site. Hence the

author in this small paper makes an attempt to survey the painted rock- shelters of Odisha.

Copyright © 2020, Dr. Umesh Chandra Nayak. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

Citation: Dr. Umesh Chandra Nayak. 2020. “Primitive art: painted rock walls in Odisha”, International Journal of Development Research, 10, (01), 33210-33214.

INTRODUCTION Stone Age Culture (15th Millennium B.C. to 2nd Millennium B.C.): Archaeological record of Tel valley reveals the Right from the dawn of the civilization human beings had a presence of the primates in its various zones during the feeling of protection for their survival from external dangers. Pleistocene phase. Paleolithic is being documented This feeling initiated the need of shelters by raising barriers in Kalahandi, like Mother river basin in region. around dwellings. This must have been an earliest thought of The prehistoric painting in Gudahandi in Kalahandi shows a human mind to construct the ramparts, fortification around his well advanced human settlement in the region. World's largest residence. In ancient India traces of fortification goes back to size Celt (axe) of late Stone Age culture has been recovered Harappan cities (Indus Valley Civilization). Archaeological from Chandrasagarnala in Kalahandi. This is the largest stone excavations have unearthed many defensive structures like Axe of the world measuring 47 cm and weighing 2.5 kg, which ramparts, mud brick walls and revetments of strategic shows very sophisticated workmanship. Similarly Mesolithic importance. Archaeologically speaking long before the and Neolithic historical records are evident in Bijadongar, preparation of Sanskrit treatises on fortification of township Koradongar (Junagarh), Gudahandi, Bicchakhaman, Budigarh, and villages, they were in vogue in many sites like Harappa, Chandrasagarnala, Karlapada, Bhaludongar, Chilpa, Habaspur, Mohenjo-Daro and Kalibangan of Chalcolithic period. Belkhandi, Jamugudapadar, Dongargarh, , Phurlijharan, Ghantmal, Kuttrukhamar, Jampadar, Pipalnala, Prehistoric Era: Cradle of Civilization: The finding of plant Godang, Budipadar, Mahimapadia, Nehena, Penjorani, fossil in the southwest basin of the Tel River in Kalahandi Yogimath etc. in Kalahandi. The findings include hand axe, pushes back the antiquity of primeval shrub on this landmass cleaver, pebble tools (chopper-chopping), core, blade, flake, to at least 0.1 million years before the present. 33211 Dr. Umesh Chandra Nayak, Primitive art: painted rock walls in Odisha

point, Celt, ring stones, microlithic, coarse pottery, grooving 1933 K. P. Jayswal had recorded that the rock surface over a marks, cave art (painting & carving) etc. length of 11 meters and width of 2.10 meters has preserved a pictographic inscription, partially incised and partially painted. Copper – Bronze Age (1600 B.C. to 1000 B.C.): The Thus it shows that within a short span of 55 years the antique provenances in this period are Jamugudapadar, engraving has been lost one meter by one meter indicating a Chandrasagarnala, Urlukupagarh, Budigarh (M. Rampur), progressive deterioration of the rock – shelter. Each row of the Bhimkela– Asurgarh, Kholigarh (Belkhandi) etc. engraving measures approximately 0.40 mt. and the depth of in Kalahandi and the findings include Celt, ring stone, the engraving measures 3 cm to 2 cm and the width being 4 cm microlithic, colourful and sophisticated ceramic, graffiti / sign to 3 cm. The lines are not very straight, because of the / alphabet (Harappan& Megalithic), copper items, gold article, undulating rough surface of the rock. The first line slopes high tin bronze objects, precious and semi – precious stone down ward. K. P. Jayswal remarked that the writing was from beads, terracotta figurines, house foundation, spindle – whorl, right to left and the writing was certainly earlier than the weight stone, and mud brick. earliest specimen of Brahmi. His conviction was that the script of Vikramkhol is an admixture of Brahmiwith a developed Iron Age / Megalithic (1000 B.C. to 700 B.C.): The largest type of Mohenjo-Daro script. He also had remarked, “The Megalithic Cemetery found in the river bank of the Tel River characters in Vikramkhol inscription belong to a period Bileikani, Kalahandi, Menhir, and stone circles of megalithic intermediary between the script of Mahenjo-Daro and Brahmi. Iron Age at Bhairavapada (Junagarh), Ruppangudi, Sagada, Some letters still retain their original or proto- Brahmi forms. Bileikani, Themra, etc. Iron smelting zone and This proves the origin of Brahmi to be Indian, and throws a cemetery Juxtaposed to the settlement is discerned in some of flood of light on the history of writing, as from Brahmi the the above sites, which reveal iron tools of war and peace, Phoenician and European scripts are derived.” It seems that all slags, ceramics, Terra-cottas, fire baked brick, furnace, semi- the engravings were originally filled in with a thick layer of precious stone beads and micro beads. Beginning of early Iron ochre. It also lends possibility that the early letters were first Age Kalahandi may be placed in the first millennium B.C. in painted and then engraved. However, the script still remains which black and red ware was the diagnostic pottery type. deciphered. Next phase of Iron Age represents to early history that was concomitants with state formation and urbanization and technological breakthrough besides voluminous trade, agriculture surplus and heterogeneous social complex in ancient Kalahandi.The material culture of Iron Age found in Kalahandi included semi-precious beads, terracotta figurines, iron implements of war and peace, decorated and plain ceramic, burnt brick, hopscotch (gaming items), spindle whorl, weight stone etc.

Painted Rock Walls and Shelters: On the - Lakhanpur Road at about 25km from Jharsuguda there is a village known as Banjari. In the vicinity of the village the ancient cave of Bikramkhol is located. In this inaccessible dense forest ancient people lived surviving on Figure 1. Pre Historic rock art, Bikramkhol, Odisha fruits, roots and animal meat. During 4000 BC there was evolution of human civilization in the region and a script was developed by them.There are some ancient script engraved in the wall of Bikramkhol and also paintings of animals. Circular holes have been dug in the wall where weapons, dress and other articles of use were being kept suspended. Even on the floors circular holes have been dug to pound the grains. Bikramkhol has been declared a tourist spot by the Central Government and tourists, historians and researchers from all over the country and abroad. The first example of rock- engraving in India was discovered from Odisha by K. P. Jayswal in 1933 a rock – shelter at Vikramkhol in Sambalpur district. In an overhanging course grained sand stone rock- shelter there are traces of engraving the paintings in deep red ochre. The greater portion of the overhanging rock- shelter from the top has collapsed from the top due to the ravages of Figure 2. Pre Historic rock art, Bikramkhol, Odisha the streams of rain water. Again because of the water streaming down the surface of the rock the paintings and the Besides engraving, the remainder of the surface of the rock- engraving have been eroded beyond recognition. The rock- shelter might have been originally painted with different shelter faces to the east commanding a seasonal stream figures and designs, as evident from a still surviving design on flowing below. The size of the rock – shelter is 37 meters in the right side of the engraving. The design measures 9 cm by 8 length, 8 meters in height with a space of 5.65 meters. The cm. In view of the aforesaid facts and the pictographic feature engravings extend over an area of 10 meters on the backwall of the scripts, the writings of Vikramkhol may be provisionally st of the rock- shelter in two rows covering a space of about 1.25 dated to the beginning of the 1 millennium B.C. meters from the top to the bottom. It may be noted here that in Sundargarh region has a rich cultural heritage. 33212 International Journal of Development Research, Vol. 10, Issue, 01, pp. 33210-33214, January, 2020

figures of human being, humped bull with and without horns, circles one upon the other, circle within circle and floral designs etc. The other paintings presumably feature instruments or obscure patterns of the symbols of astronomy, patterns like bowl like shapes one upon the other. All the painted figures and objects have their movement towards the left. Significantly there is no depiction of any hunting scene. Singh Deo dated these paintings to the later part of Neolithic age because “the painting” he says, shows the main occupation of the people in agriculture and the painting was in red tinned colour of that time. At this stage it is difficult to accept the view of Singh Deo since the scene of a calf following a cow being dragged by a man may not be regarded as an original one. And the depiction of bull cannot be intended to mean agriculture or domestication either, as existing condition of the then life, because bull is found depicted in very clearly Figure 3. Rock Painting, , Odisha painting alongwith bison, elephant and deer. Further exploration of the site and the nearby areas and a comparative study with the other painted sites will perhaps help in determining a more acceptable date of the paintings. However, the depiction of dambarutilak, and metallic objects like trisul etc. to be taken note of while dating the paintings. In 1950 S.N. Rajguru reported the discovery of another rock-painting in of Gudahandi. The paintings are seen in one rock-shelter depicting scenes like hunting where a man is shown hunting a deer with the help of a stone implement. Geometric patterns like squares, rectangular either empty or filled in with straight and diagonal lines, circles, wheel with spokes, apsidal patterns, dots, floral designs etc. They have all been painted in dark red colour and in some cases black has also been used along with red. The paintings are fast disappearing due to complete exposure to the nature agencies.

Ushakothi: Ushakothi is situated near Rajbahal in Figure 4. Rock Painting, Nuapada, Odisha LephriparaTahsil. Paintings found in three rock- shelters, whereas engraving is found in only two of them i.e. There are evidences of man living in this region, since the Old Rishikunda and Sitakund. The engraving of Rishikund Stone Age, in the form of stone tools used by them for executed over a well demarcated rubbed surface on the back hunting. However man used Rock shelters in this region during wall on one line is very interesting. The engraving is finally the New Stone Age. Such rock-shelters are to be found at smeared with a layer of red ocher. The other forms of Lekhamoda, Manikmoda, Ushakothi, Tonga in Hemgir, engravings are human palm, foot and triangular patterns Lephripara region. AkhandaParvata near Belsara at Tangarpali resembling female genitals. To the right of the engraved panel Block and MahavirParvat in Bargaon Block. A significant is a space of 1m X 0.60m executed with an excellent specimen discovery in the field of prehistoric archaeology is popularly of intricate wavy decorative painting in dark red and known as Rock Arts which is a Global phenomenon dating yellow pigments. Except a few specimens of palm prints and back to 30,000 years. Paintings, engraving and brushing found triangular patterns, the entire wall of the rock shelters is executed on bare rock faces in the naturally formed caves and randomly decorated with a host of broom / beaten brush or rod rock shelters are the earliest written and visual documents of patterns in dark. The pattern are consists of three to five lines the prehistoric man. Those are to be found, Manikmoda, diverging from a point with an average length of 0.20m and Ushakothi, Tonga and Lekhamoda signifying the development very enigmatic in their depiction, two grinding holes on the of human culture in this region. Sundargarh district has almost floor of the rock shelter and the collection of microliths rd 2/3 of the Rock Art so far discovered in Odisha. from the adjoining slope amply at least to the archaeological significance of the rock shelters of Ushakothi. Jogimatah: The painted rock-shelter site of Jogimath was first reported by Jitamitra P. Singh Deo (1976). The site is located Lekhamoda: Lekhamoda is a generic name of painted and at a distance of about 9 K. M. to the east of near engraved rock-shelters in Kanika region. A group of twelve Sargadi village in Kalahandi district. The side is so named rock-shelters adorned with antique paintings and engravings because it was the abode of the risis and accordingly a nearby are situated in the reserve forests of Chhengapahar village is also known as Risigaon. Paintings are found in two andGarjanpahar within a radius of about 6 K.M. from Kanika rock- shelters. The rocks are of a crude variety of sand stone. in HemgirTahasil of Sundargarh district of Odisha. The twelve Though the rock- shelters and the painted rock- surface have rock-shelters are adorned with about five hundred paintings been greatly disfigured by human vandalism, the original and more than one hundred specimens of engravings in figures and patterns drawn in dark red ocher are visible on a Kendukhol, Gangakhol, Sukhamankar, SargikholGirigumpha closer scrutiny. Paintings are found both on the ceiling and the and phuldunguri in Garjanpahar. The paintings are executed in back wall of the rock-shelter. The paintings are those of the mineral colours like, ochre, red, white, and yellow in 33213 Dr. Umesh Chandra Nayak, Primitive art: painted rock walls in Odisha

monochrome as well as in polychrome. The paintings include a Tongo: Tongo is situated near the village Giripur in Hemgir variety of decorative, geometric, and intricate patterns, human Tehsil. The rock shelter is oriented east west and facing to the figures and animal figures. The intricate decorative patterns of south. It got 190 specimen of engravings randomly executed Lekhamoda are without any parallel in India. Unlike the on its back wall in an area of 35m of the total length of 50m. central Indian style of filling the body of animals and human Triangular shapes resembling female genitals pre-dominate the forms, in Lekhamode they are all independent forms for wall engraved forms. The other forms are palmand foot prints, decorations. The Rock-art site of Ushakothi is situated on a hill rhombic and honeycomb patterns, serpentine and a host of range within the jurisdiction of LefriparaTahasil of Sundargarh forms resembling Roman Character like X, Y, T and H. The district. The site is so named because of its association with the rhombic pattern is marked decorative motif of Tango. Ramayana episode. According to the local beliefs this was the Serpentine at places take the shapes of female genitals. All place where Rama worshipped Lord Siva. Here paintings are these engravings were originally filled in with a paste of Ochre seen in three Rock-shelters of rugged sandstone. They are in their grooves. Though there is no discernible painting at Rishi Kund, SitaKund, andSarpagumpha. In both RisiKunda Tongo, in one case the shape of a scooped out female genital and SitaKund we find paintings as well as engravings. The has been exquisite embroidered in yellow over red. The engravings in their style of execution may well be compared decorative patter has been achieved through an urge for with the engravings of Vikramkhol. In RisiKund the engraving sophistication in simplicity. though not very prominent is found to be executed on a well leveled background of rock-surface measuring 5.5 meter X Chandalipat: PoojaDunguri complex is a cluster of granite 0.75 meter. The writing is in one row unlike the two rows of rocks surrounded by bushy forest spreading over 250 acres of Vikramkhol. The total surface of the engraving is covered with ‘PaharKishan’ of land. It is located in the meeting pace of a layer of ochre colour. To the right of the engraving is a space Binka and Rampur Tahasil in the district of Subarnapur, of 60 cm. by one meter showing an excellent specimen of Odisha. Taken together there are 27 ‘Dunguris’ or rocky hills decorative paintings, colour used is yellow and red ocher. small and big as well. Prominent among them are They appear like textile embroidery with lines and lines ‘PoojaDunguri’, Ushakothi, KabatTalei, BaghDunguri etc. intersecting one another, dots, squares and triangles etc. The While PoojaDunguri and KabatTalei are bigger in size and only other pattern observable in all the three rock- shelters is a circumference, and are associated with the cult of goddess host of figures resembling either a broom or a brush each with ‘Chandlipat’, the small-sized Ushakothi and BaghRock 3 to 5 lines diverging from bottom having an a average length Painting of ChandalipatDunguri contain rock-paintings in of 20cms. The figures are irregularly painted all over the rock- ochre colour. Even the miniature painting of an animal is surface. In SitaKund palm impression of red ochre are also found on a rock over PoojaDunguri. The site is linked with the visible with an average size of 17 cms. X 9 cms. The popular legend of “Gondmaru” (Gond Menace) of the second decade carving depicted in SitaKund was on inverted triangle with a of 19th century. According to popular belief the Binjhal vertical line intersecting the base at the top. Here also we find Zamindar of Rampur was defeated and driven out by the two specimens of grinding holes in front of the RisiKund GondZamindar of Bheden. The defeated Zamindar took shelter which has a close similarity in features and size with those of at PoojaDunguri, the cult spot of mother Goddess Chandlipat. Manikmoda. He was blessed by the duty and in a subsequent encounter regained his zamindari by defeating the intruder. An annual Manikmoda: The painted rock-shelter of Manikmoda is festival of “DangarYatra” is celebrated by the locals to situated inside a reserve forest, at a distance of about 8 K.Ms. commemorate this victory. The human representatives from Hemgiri in Sundargarh district. The site can be (Baruas) of the Goddesses Chandlipat, Patmesri and approached from Hemgiri by Hemgiri- Kanika road. After Jharkhandien are taken in procession with traditional weapons covering a distance of about 2 KM. one has to turn to the right and umbrellas to PoojaDunguri on the occasion of to reach the small village of Sukhabandha via the Microwave ChaitraPurnima and scarifies are offered at various places of station of the S.E. Railway, located on the top of a hillock. the complex. The cult of chandlipat is well-spread in After approaching the Siva temple, located at a distance of surrounding villages like Chanabeda, ChandliAdakasa, about one KM. from the village Sukhabandh, one has to take Sialinali etc. alongwith the ex-zamindari region of Sukha and the road branching off to the right upto a distance of about 5 Sohela. Most of the inhabitants of the areas are Binjhals, KM. to reach the extensive rock- shelter of grant antiquarian Saharas and Kuda-Mirdhas, still leading the life of hunter interest. The rock-shelter measures 98.5 meters in length, 7.32 gatherers besides being wage-earners. Tribal of villages meters in height from the ground level with a living space of surrounding the Dunguri-complex largely depend upon the 11.50 meters from the backwall of the rock shelter. It is the forest-products until now. largest painted rock-shelter so far discovered in Odisha. The rock –shelter is oriented in the east-west direction facing to the Puja Dunfuri: The surface exploration revealed that the south with a seasonal stream flowing below which meets the granite rocks of the entire complex are profusely engraved. NallKeunti after a distance of half a kilometer. Keunti is a There are cup-marks, foot-prints, Sun symbols, Ovals, tributary of Ghoghor. The rock-shelter is gifted with a Geometrical and non-geometrical lines and above all the Yoni perennial source of water streaming from its deep recess in the mark symbols the prevalence of the primeval mother-cult. eastern end. It is interesting to observe that the supply of water Besides the natural rock shelter of Ushakothi contains a panel is more during the summer. The water is stored throughout the of paintings in ochre colour. Some of them are now lost due to year in the naturally formed deep cavities on the bed rock. The the vagaries of nature like water torrent and pigmentation rugged sand stone rock shelter has preserved the traces of while some other are disfigured and on the verge of extinction. painting on its back wall at seven places and the evidence of But an animal figure the first one of the panel on the rock wall engraving at one place near the source of water. is still ‘in situ’ condition. The size of this painting of a deer- like animal is 2.5’x1.5’. Pegs over the body of the animal proves that it was meant for commemorative purpose. 33214 International Journal of Development Research, Vol. 10, Issue, 01, pp. 33210-33214, January, 2020

Probably the pre-historic man the inhabitant of the place used Prominent among them are Manikmada and Ushakothi in to take psychological strength from such a picture before going Sundergarh, Ulapgarh and Vikramkhol in Sambalpur, out in hunting expedition. Two other paintings next to this one Gudahandi and Yogimath in Kalahandi. Out of the 66 painted in the panel are faded beyond recognition now. In the initial rock shelters discovered in the western belt of Odisha so far, stage of the exploration it seemed like the figure probably of a the newly constituted district of Sambalpur has the maximum lizard in vertical posture and a pig with pegs on the body. with 32. There are 28 in Sundergarh while 2 in Jharsuguda; Overall, the painting of Ushakothi was used by the pre-historic while the districts of Mayurbhanj, Subarnapur, Nuapada and man for hunting purpose. Another painting of an enigmatic Kalahandi contain one each. The only rockart site in the nature is drawn on a triangle, vertical rock at Bagh ‘Dunguri’ district of Subarnapur is at Ushakothi in PoojaDunguri beside a nalla (water stream). It contains zigzag lines, circles, complex. It is called ‘Putlalekha’ by the locals. This rock art curves etc. symbolic human figure might be hinted from this heritage needs to be protected from the vagaries of nature and painting. It is difficult to make a meaning out of this picture. human vandalism. The picture of animal figure paint in ochre on the vertical rock on PoojaDunguri, it seems like a jackal or a horse in static REFERENCES position. This might be associated with the religious belief that Goddess Chandlipat treads through the village at the dead of Ancient Cion of Orissa- Orissa Review-September-2004 the might, riding over a white horse. On the other hand the Dr. BalaramTripathy- Early Historic Cultures of Orissa- Orissa figure of a jackal would symbolize that the herdsmen of this Review * April – 2007 region wanted to propitiate it so that no damage is done to their Dr. RameshprasadMohapatra, Ranganrekha, No-5 LKA calf or kids. Associated artifacts found from the complex prove Odisha Journal that it was the resort of the pre-historic man. The fire includes Dr. RameshprasadMohapatra, Ranganrekha, No-5 LKA microliths perforated stones, hand stone, varieties of pottery, Odisha Journal cord impressed burnt clay, charred bones, bangles (glass and Jayswal, K. P. 1933, “The Vikramkhol Inscription. Sambalpur bronze), hematite nouddles etc. these, along with the rock district”. The Indian Antiquary, Vol.62pp.58-60. painting and engravings especially of female genital marks Keonjhar district-Wikipedia, the free encyclopedia execute on the rock surface of PoojaDunguri and KabatTalei Orissa – Land of Opportunity Www.Thaiembassy. clearly prove that the place was the habitat of the pre-historic Org/Bic.Kolkata/ Contents/Images/ Text_ Editor/ man of the Mesolithic age believing in a primeval mother cult. Files/6665. The phenomena of rock art by the pre-historic man meant to Paul Yule, Early Historic Sites in Orissa, page-1 express his feelings and might range from 30,000 B.C. to 800 Rajguru, S. N. 1950, Journal of the Kalinga Historical A.D. covering the stone ages and metal ages till the Research Society, p.245. introduction of iron. In India we find rock art in upland hilly Singh Deo, J. P. 1976, Orissa Historical Reserch Journal, Vol. regions. Most of them are found at Bhimbetka in Madhya XXII, No.2, pp.21-22. Pradesh. Due to the prevalence of a similar climatic and Singh Jagabandhu, PrachinaUtkala (Ancient Utkala), geomorphologic situation rock art is found in many places of 1929/1964, p. 386, Mukura, 1918, p.98-99. Western Odisha. TarakantaMohanty- Orissa Review- April-2010

*******